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Ivana Shein
Ms. Shein’s series pilot adaptation of her play, "Single," produced by IAMA Theatre company and directed by Amir Arison retitled for television as "A Leonard Cohen Afterworld," caused filmmaker Cameron Crowe to say after reading it, "Thank you, Ivana, for knowing instinctively, that all the best music comes from Canada”. Mitchell Cushman directed a workshop production of her play "The Lovers" based on the eternal kiss in a Chagall painting produced by The Company Theatre. Cushman and Shein are reteaming on her solo play "Borderline." Her latest play, "Canadian Book of The Dead," is slated for 2024 development at Shotgun Theatre in San Francisco, Becca Wolff to direct. She performs stand up comedy in both the U.S and Canada and has played a multi-season recurring role (in two timelines) as the mother of the lead character, Maya Bishop on Shonda Rhimes's ABC series, "Station 19." Her podcast "Skinny Dipping" with one of the producers at Sugar 23 just recorded its pilot episode with special guest Maria Bamford. She attended the National Theatre School of Canada for playwriting, making her a second-generation Canadian playwright.
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iPhoto caption: Jane Spidell in 'Twelve Dinners.' Photo by Dahlia Katz.
REVIEW: Family tensions run high in TIFT’s intimate Twelve Dinners
In the now-closed Twelve Dinners, an autobiographical play written and directed by Steve Ross, audiences received intimate access to an unvarnished version of a younger Ross through 12 evening meals with his parents.
iPhoto caption: Members of the company of 'Narnia.' Photo by Dahlia Katz.
REVIEW: Bad Hats’ Narnia is a joyful, heartwarming escape
The spirit of openness and the joy of discovery rule over this Narnia. Open the wardrobe and see.
iPhoto caption: Members of the company of 'Robin Hood.' Photo by Dahlia Katz.
REVIEW: Canadian Stage’s Robin Hood panto is anti-capitalist fun for the whole family
Following Ross Petty’s legacy of scene-stealing, Damien Atkins as the evil Prince John is easily the greatest delight of the show.
iPhoto caption: Lauren Gillis and Alaine Hutton in 'Public Consumption.' Photo by Eden Graham.
REVIEW: Lester Trips’ stylish Public Consumption captures the internet’s profound emptiness
Rather than directly representing online life, Public Consumption speculates — with virtuosity — about how the digital world affects our bodies. And the show's findings are by no means comfortable.
iPhoto caption: Tony Ofori and Daren A. Herbert in 'Moonlight Schooner.' Photo by Dahlia Katz.
Kanika Ambrose’s Moonlight Schooner is animated and visually stunning, but its individual pieces don’t come together as neatly as I would've expected.
iPhoto caption: Photo by Fabian Hammerl.
In A a | a B : B E N D, choreographer Aszure Barton aims to rebuild dance from the inside out
“It’s so easy to over-intellectualize dance in general, but B E N D is about hearing and moving to cool-ass music together,” says Barton ahead of the show's run at the Bluma Appel Theatre.
iPhoto caption: Urjo Kareda was an Estonian-born Canadian theatre and music critic, dramaturg, and stage director. He died in 2001.
A sign outside Urjo Kareda's office read, "no whining." A framed letter inside said "Fuck you, Mr. Kareda."
Year One: Apple Pan, because it’s literally what the Peach Pit in 90210 is based on, and pie is good when you’re being rejected that much.
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